MA SPAVENTI - VIAGGI


MA SPAVENTI - VIAGGI
(PIZZICO REC. / IT)

Released by Pizzico for the first time in 2009 with the moniker Erre, Marco Antonio Spaventi was one of the most pleasant surprises about what an excellent techno producer can do with his beloved background: Italo disco. Influenced by soundtrack masters as Vangelis, John Carpenter and most of all italian maestro's like Nico Fidenco, Pino Donaggio, Francesco De Masi, and appearing in the sky like a laser beam in a post-atomic Bronx filmed by Enzo G. Castellari, the positive first album of MA Spaventi called Viaggi is landing. A real journey into obscure worlds, dirty streets, atomic sunsets, broken hearts and analog feelings, a blessing for your most romantic and cinematic essence. Could this folding full length fit the modern dance floors? Maybe It could be better for the outcast clubs of a near future: synths atmosphere are sweet and pressing at the same time, the melodies and beats fit together in a succession of deep emotions, the "tape" sounds old school and totally irresistible. Pizzico is proud to present MA Spaventi's VIAGGI: nine exclusive tracks for a brand new album, invoking and evoking dusty Italo vibes, analog synths and written soundtracks for unwritten movies.
Artwork by Paguro - baltimorestudio.it 
Distributed by Bordello a Parigi - bordelloaparigi.com
Release date: 15-06-01




DOCTEUR SATAN (I'M A CLICHE')


DOCTEUR SATAN - S/T
(I'M A CLICHE' REC. / FR)

Entity (A throbbing groove, ecstatic vowels, elegant rave stabs and an unsettling vocal sample. There's something scary going on the dancefloor and the presence of a malevolent entity conjured by the evil Docteur will undeniably be felt by all on the floor.

(666) 361-6794 Filtered Juno hoovers, a pounding drum machine groove and a vocal hook with the lowest possible pH. Stripped down yet irresistible, this is a relentless track for dilated pupils and clenched jaws. Jesus ain't the only one who loves the acid, Docteur Satan loves it too and he sure knows how to make it bigger, bolder, rougher and tougher than the man upstairs.



Entity (Red Axes Remix) The Israeli duo's remix of Entity takes the rhythmic elements of the original track up a notch and the result is a track engineered for dance floor efficiency. With moments of tense build-up and delightful release, mind-altering sounds gradually make an appearance along with a functional bass line. Add a cuica from hell and you've got yourself a fine slice of demonic carnival music.

The Operator Clocking around 100BPM, this track is built on thumping drum beats, candid hooks and vocal samples of a whoring persuasion that certainly aren't cute. Add a hypnotic and understated acid-not acid bassline and you've got a bona fide 21st century new beat anthem perfect for all your satanic ritual dancefloor needs.


MARVIN & GUY - EGOISTA (HIVERN DISCS / HVN028)


MARVIN & GUY - EGOISTA 
(HIVERN DISCS / HVN028)

TRACKLISTING:
EGOISTA
CANCION (PARA TI)
THE MAN WHO LOST THE HAT

Marvin & Guy was born in 2011 from the children of two different musical generations with a shared knowledge of how to make people dance. Influenced by legendary DJs such as Ron Hardy, Larry Levan or Tee Scott, their sound is firmly rooted in disco but keeps evolving with each release. 


In their debut EP for Hivern, they keep expanding their palette with three tracks that push the boundaries between the disco culture and a techno spirit. "Egoísta" is a highly hypnotic joint driven by a warm analogue bassline and a spacey pad that has become a staple in John Talabot's sets during the lasts months. “Canción (Para Tí)" manages to blend an italo arpeggio, a 303 bassline and pumping disco beat with a certain latin spirit to create a crushing dancefloor belter. "The Man who Lost the Hat" is an obscure trip builded around psychedelic synths, a rolling bassline and topped with spooky vocal samples. 

The 12” comes wrapped in a sleeve featuring pictures of México-based photographer Pia Riverola and design by Arnau Pi.








Black Devil Disco Club - 40 Years Anniversary Collector Package (1975-2015)

info here: PRIVATE RECORDS

coming soon ..
(limited to 250 copies only)


This package focusing on reproducing the original Black Devil Disco Club vinyl records in perfection + adding some gadgets for collectors. Thick glossy lamination vintage style cover which looks exactly as the original pressing. Remastered by Bernard Fevre audiophile sound - dubbed from the original master tapes.
"Black Devil Disco Club" was released as album in 1978 in France and Italy but „Suspense" and "Cosmos 2043" were only available as library LP’s for scoring radio and television. They get released for the first time ever including some previously not available extended versions.
Enclosed you'll find your exclusive promo merchandise insert set including a beautiful Black Devil Disco Club record store promo poster and a limited sticker set! Amazing golden vinyl + charming liner notes insert written by Bernard Fevre are included as well free downloads for the 3 albums. Including all in all 13 inserts!



On May 11, Private Records will release French experimental composer Bernard Fèvre's storied Disco Club EP (1978) for the for the first time in its original, complete sequence. A pair of Fèvre's most influential library LPs will also see their first time reissue on the same date: Suspense (1975) and Cosmos 2043 (1977). Fèvre's work, sui generis in both approach and form, has been a touchstone for countless generations of electronic musicians and creators from the periphery. Read on for more insight into these relics. and do not miss the charming missive recently penned by Mr. Fèvre via the EPK below, where he discusses his legacy, the discos of late 70's Paris, some surprising influences (The Addams Family, Buster Keaton) and much more. 
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Fèvre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself. 
Suspense is a library LP of cinematic, proto-electro vignettes tied together with tense, dramatic melodies befitting of its title. Conceived in mid-1970's Paris, Suspense soundtracks an eerie motion picture that would never be made. We're proud to present this legendary work on the fortieth anniversary of its creation, remastered from the original tapes by Fèvre. 
Cosmos 2043 is a wild, science fiction-themed library LP by French synthesizer wizard Bernard Fèvre. Released in 1977, Fèvre imagines a far future populated by space-age electronics and lush, vivid melody. This edition has also been treated to a remaster from the original tapes by Fèvre.



Some words from Bernard:

‘The idea of highlighting these discs, and for the first time in their original format, is very dear to me. I hope they show that I have been an originator not an imitator although at the time they were made I never considered myself futuristic or revolutionary.
The important thing with these re-issues, is the fun it will bring the fans who have been asking for the re-issues for so long. I understood it was going to make people happy, so I wanted to re-master my old tracks myself because I do not want to have a modern filter that would take away the charm of my old work. Listeners will have the exact sound of the studio I was using at the time, hardly adjusted by me from the original Revox tape. It will be a journey for them to my side of a universe that until now I was the only one to experience
‘The Kid In Me’ on my last album, refers to the child in me who thinks his music timeless and impervious to the march of time and the proof is that it continues to be enjoyed even today by young people all over the world, even in countries I doubt I'll ever visit. These people could be my grandchildren!
The most exciting thing for me is that for the first time my early work will be released and distributed in many countries, 40 years after being received poorly except by a few, rare illuminated souls.
That means that I keep my job, which is very exciting.
Music, musician, my soul, it's my life.’

Production notes:
‘Suspense’ and ‘Cosmos 2043’ were made one after the other in 1975. The writing and production lasted two months for the first and four months for the other. I chose to do everything alone because I did not trust the technicians and musicians around me: I thought they were way behind the times.
For the performance of these albums, I used a Solina keyboard, Hohner Clavinet, Korg Poly and a monophonic Moog plus of course the Mini Korg 700 I still use today. I also had a Teac 4-track tape recorder, Power effects (a French brand since disappeared) and a 12-track Allen & Heath console. A real home studio before it’s time in 1975!
'Cosmos 2043' (released in 1977) is known for the track ‘Earth Message’ as sampled by The Chemical Brothers in their ‘Got Glint’ track. I chose the date 2043 at random; it had to indicate a distant time, far away. Now I imagine that life in 2043 will be harder with warmer temperatures than today but unless I live to be 97 I will never know for sure!
For the third album, 'Disco Club' (1978), I worked with a drummer making loops that were adjusted, to create the hypnotic groove that is so special. Despite the fact that it was all recorded in a professional studio (in a suburb of Paris) I find this a very ‘artisan’ disk because it was all done using equipment that we now consider "home studio".
My producer, Jacky Giordano and I chose to use nicknames for the credits: he would be ‘Joachim Sherylee’ and I would be ‘Junior Claristidge’. As for Black Devil, that was the end result of this change: an extension of me, a new character.
In fluences.



My in fluences come from classical music, rock'n'roll, rhythm and blues and radio songs - even the most kitsch. My pleasure has always been both to follow some musical conventions while rejecting traditional musical theories. Maybe this can be seen by the my choice of heroes: Louis de Funes, Maurice Chevalier, Edith Piaf, Woody Wood Pecker, The Addams Family, Gary Cooper, Grace of Monaco, Buster Keaton, Little Eva, Mickey Mouse.
My music is rather Phantasmo-psychedelic, as if the soundtrack to an imaginary film (few films were using this kind of music at the time). It could be used for a film like ‘Barbarella’ or ‘Interstellar’ instead of the very arti ficial synth you hear throughout the film. I also imagine it used in a movie with Gary Cooper, in place of the usual western music, or ‘Star Wars’, rather than the redundant symphonic music, or even in ‘Alphaville’, ‘Alien’ or ‘Mars Attacks’.
Words of parting.
In the second half of the 70s, Paris was ‘free thinking’, the economy was healthy, the baguette cost 1 franc ( € 0.15) and the outlook was good, with nice girls (girlfriends) and good guys (friends). It was a fine time, I was going to dance clubs, and I did not need to pay the entrance. I also found I could drink for free: I would sit at a table of old guys and berate them about their "zero ideas and poor policy." That always annoyed them and they would invite me to drink with them while they tried to convince me of my mistakes!
Actually, I've always thought the future would be rather redneck, and I think it is today. I hear the same sentences for sixty years in the mouths of énarques or of those with "no teeth"; Technology has made the world happier, but just more dependent and gullible. And a gullible man is the preferred food of the predator.
However, the 2000’s were a real godsend for me: Thanks to Lo Recordings who released my new material I was able to show the public that I really existed and that my talent was not dead. With my live shows I was able to prove that my work was not the producers but rather my own. All my life I survived music by compromising with crooked merchants. I was hoping for better than 60 years, but I have to thank the artists who helped me.
Today I feel I am really Black Devil instead of Bernard Fevre because Fevre was born in 1946 and Black Devil in 1978. So if I am Black Devil I am 37 years young!

Bernard Fevre, Paris, January 2015